Painters Paintings John Constable (1776–1837): Salisbury Cathedral from the Meadows, 1831, Oil on c…

Painters Work John Constable (1776–1837): Salisbury Cathedral from the Meadows, 1831, Oil on canvas, 153,7 × 192 cm, Tate Britain, London

John Constabl was a serious determine in English panorama portray within the early 19th century. He’s finest recognized for his work of the English countryside, notably these representing his native valley of the River Stour, an space that got here to be often called “Constable nation.”
He made many open-air sketches, utilizing these as a foundation for his giant exhibition work, which had been labored up within the studio.

Salisbury Cathedral with its stone spire, the tallest in England, dates to the thirteenth and fourteenth centuries and is surrounded by a flat panorama of water meadows.

Constable’s current portray exhibits the cathedral from the north-west, trying throughout the River Nadder from a degree close to a footbridge often called the Lengthy Bridge. A workforce of three horses pulls a cart throughout the river from the left; cattle graze within the meadows in the precise distance; and the centre foreground is occupied by a black and white sheepdog whose intent gaze is turned inwards in the direction of the cathedral as if to direct the viewer in the direction of the constructing or the storm that sweeps over it. The spire pierces a sky filled with billowing clouds; a darkish rain cloud hangs straight above and a streak of lightning flashes over the roof; however an impressive rainbow arches over all, promising that the storm will cross. Whereas the tall bushes within the center distance on the left are shaken by a squally breeze, the river’s floor is already glassy and clean, reflecting the various sky. Recent raindrops glint and sparkle on the brambles within the foreground. All through a lot of the canvas, the paint is dealt with with a febrile, generally even frenzied pleasure, particularly within the foreground undergrowth, the trembling bushes and the Gothic structure of the cathedral. Laid on with brush and palette knife, the paint ranges from thick and three-dimensional within the brambles, to skinny and virtually translucent within the rainbow.
The portray remained within the artist’s studio – the place he continued to retouch it – till his demise in 1837.

(Tate Britain)

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